Recently in Performances
Manitoba Opera’s first production in nine years of Giacomo Puccini’s La Bohème still stirs the heart and inspires tears with its tragic tale of bohemian artists living — and loving — in 1840s Paris.
On April 12, 2014, Arizona Opera opened its series of performances of Donizetti's Don Pasquale in Tucson. Chuck Hudson’s production of this opera combined Commedia dell’arte with Hollywood movie history.
This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
15 Mar 2005
Countertenors Victorious in Copenhagen
Last week in the Danish capital city, still chilly after freezing weather and heavy snow, the spirits were raised by two contrasting but equally fulfilling events in the shape of the Danish Royal Opera’s revival of Francisco Negrin’s production of Handel’s “Giulio Cesare” featuring the return of star European countertenor Andreas Scholl in the title role, and the debut appearance in the city of his American counterpart, David Daniels, in a concert performance of Bach and Vivaldi. Both singers were in fact enjoying indulging their talents in their less well known fachs: Scholl is rarely seen on the opera stage and admits to feeling less than completely at home there. Daniels, on the other hand, fresh from yet another Handelian triumph at the Metropolitan Opera (Bertarido in the sumptuous new production of “Rodelinda”) is not known as a Bach specialist, but was essaying his second concert performance in Europe of the great cantata BWV82, “Ich Habe Genug”, reviewed elsewhere.
Copenhagen Opera House
High Flying Singing: Copenhagen's Baroque Feast
Last week in the Danish capital city, still chilly after freezing weather and heavy snow, the spirits were raised by two contrasting but equally fulfilling events in the shape of the Danish Royal Opera's revival of Francisco Negrin's production of Handel's "Giulio Cesare" featuring the return of star European countertenor Andreas Scholl in the title role, and the debut appearance in the city of his American counterpart, David Daniels, in a concert performance of Bach and Vivaldi. Both singers were in fact enjoying indulging their talents in their less well known fachs: Scholl is rarely seen on the opera stage and admits to feeling less than completely at home there. Daniels, on the other hand, fresh from yet another Handelian triumph at the Metropolitan Opera (Bertarido in the sumptuous new production of "Rodelinda") is not known as a Bach specialist, but was essaying his second concert performance in Europe of the great cantata BWV82, "Ich Habe Genug", reviewed elsewhere.
This taking over of Copenhagen by the men who sing high was augmented by two others: Chris Robson, also reprising his acting tour de force in the role of Tolomeo alongside Scholl, and a fascinating newcomer to the European opera scene in the form of young Michael Maniaci, a true male soprano in the small but pivotal role of Nireno. He was one of only two cast members new to the production, the other being John Lundgren as Curio. Once again, Lars Ulrik Mortensen conducted the baroque orchestra Concerto Copenhagen, this time more fully equipped in the horn section and sounding more comfortable in the most demanding of Handel's intricacies.
From a box-office point of view, this was a revival to ensure good returns on a known success story and it did not fail to come up with the goods in that department. Vocally too, the entire returning cast of Scholl, Inger Dam Jensen (Cleopatra), Randi Stene (Cornelia), Tuva Semmingsen (Sesto), Palle Knudsen (Achilla) all sounded far more in concert with both staging and each other, and many of the first-run lacunae have been filled or re-jigged to work more smoothly. However, it was also obvious that this staging still has its limitations and oddities that strike an uncomfortable note - the dead shark's appearance to loud audience laughter just prior to the emotionally-draining aria from an imprisoned Cornelia is still a dramatic disaster, whilst some of the more obvious visual jokes pall quickly.
Vocally, the stand outs were Semmingsen and Scholl. The young mezzo has matured vocally and dramatically and now makes a stunningly effective Sesto, showing great understanding of Handelian sensibilities yet also displaying confident cadenzas and ornaments all her own. She is lucky to have the build and features that adapt well to this part, and should be able to take this role almost anywhere in the world, should she wish to. Scholl's many fans were not disappointed by his performances during the first week - his renowned tone and technique, not to mention upstanding physique, fit this role extremely well, and there were some glorious moments once he had warmed up. If his "Aure, deh per pieta" lacked a little in legato silkiness compared to the first run, his singing in "Se Infiorito", the "duet" with the violinist on stage, was particularly elegant, charming and effortlessly virtuosic and also showed that he is now, at this stage of his career, beginning to feel more comfortable on the opera stage. A slight tendency to wave the hands around in moments of high emotion remains, but overall this was a much more satisfying dramatic performance than three years ago.
One young singer who will not have any such concerns on the dramatic front is Michael Maniaci - at 28 years old he is already showing an amazing ability to hold the eye whilst doing virtually nothing on the stage, coupled with an exciting strong true male soprano voice that promises much in roles written for the higher castratos of Handel's time. He has already had significant successes in such roles and as Monteverdi's Nerone in the United States (Wolf Trap, Glimmerglass, Chicago Opera Theatre ) as well as a much-discussed Cherubino at Pittsburg, and this was his European debut in a large house. Unlike in the original production three years ago, Nireno's one aria in Act 2 "Chi pede un momento" has been restored for Maniaci to sing, and he took full advantage of this opportunity. If the voice was still a little unfocused and uncontrolled from time to time, he showed excellent intonation, strength and true colour. One could look forward to hearing him in the title role of a major production Xerxes one day, and certainly as Sesto in the near future. Could this voice be the next big thing on the baroque opera scene, in the way that Daniels was a decade ago? Certainly it is an exciting prospect to whet the appetite of aficionados of the genre.
© Sue Loder 2005